Of drama and romance

One criticises out of respect, intent on ameliorating. Unfortunately, in this case, the English language does not provide us with the equivalent language sophistry our own indigenous Maltese tongue allows. For in Maltese we have two verbs referring to the notion of criticising. Thus from maqdar one intuitively knows the inference is totally negative, while the verb ikkritika, allows for more leeway, with more emphasis on the positive and constructive side of criticism.

On this premise and in this particular instance, one understands that ikkritika (to criticise) is an exercise in appraising, with the intention, among others, of clarifying and improving. It is in this light that I submit these comments.

As a rule I neither attend theatre (live or cinema) nor do I read novels. Yet I am thoroughly familiar with every single play by Francis Ebejer. Likewise, plays from the world of Sophocles right down to Shakespeare, Brecht, Pirandello and including our own local playwrights' works.

For to me, a play is essentially an intellectual exercise to be read (appreciated) in private, at one's leisure, where the mind can roam and sift through the imagined effects of the "enactment of an act". That is if one views life, as I do, as one huge and continuous "act" (performance) of the way each of us perceives the truth, reality, actuality, the world around us... One continuous illusion, if you like. Personally, I see no purpose in confining oneself to a seat, surrounded by an audience you neither know and probably much less care to know, to labour through the interactions of a group of able actors, simulating a contrived reality.

To each his own! Whether it is John Gielgud or Laurence Olivier, Karmen Azzopardi or Paul Xuereb, or even Elizabeth Taylor and Richard Burton, neither of these will change my attitude to play-watching. It is the actors' and directors' and producers' and critics' prerogative and right to hail plays for what they believe them to be.

My sole interest in writing the five plays I have so far written, but never yet published, has always been based on the premise that playwriting is an intellectual exercise to be read rather than acted out. Playwriting as that unique literary genre where, through dialogue and "other" effects, the reader may savour the artistic finesse of direct or more subtle criticism of ourselves (society) in a genuine attempt to ameliorate, enhance, improve... I am not for one moment saying that drama ought to be scrapped. Far from it! I'm all for it! Merely expressing a personal preference to the approach in drama appreciation.

Similarly, as my personal choice of reading material, novels are to me an exception rather than the rule. To even attempt spending precious hours reading through another thinker's ideas and concepts, I must first be convinced of the author's repute as a writer and thinker. And even then, if my interest is not captured by the first two or three paragraphs, I discard the work as a literary flop.

Any form of literary genre must encompass, as an essential ingredient, a genuine commitment at exposing, both the individual as well as the collective subconscious as much as the unconscious, to a level of consciousness, whereby knowledge (awareness) continues to expand. Any literary genre which is intended merely to "entertain" and to "deviate" from the real and the actual, of our human condition, without that deep commitment to reach into further levels of consciousness, is a futile effort in mediocrity.

Maltese language drama is currently in the limelight, and rightly so. Hence carpe diem! Lest the demon escape us once again and a golden opportunity for a thorough national introspection dissipates en passant. I included the novel in this argument, as it is not entirely unrelated to the art of drama. After all, many a novel has been celebrated on the silver screen. If only for contrast, it has served my purpose.

With all the foregoing in mind, apart from the several points raised herein, which in turn can be discussed at one's leisure and at greater length, I place before the intelligent reading public of this paper, my case as a testing ground. This is my, and possibly every other Maltese playwright's, cri de coeur!

The last Francis Ebejer Playwriting Competition panel of judges decided not to award first and third prizes for the three-act plays submitted. The material, according to them, was not up to standard.

Had all else proceeded as normal, I would have accepted the umpire's decision, however reluctantly. But this time, there were too many "inconsistencies" in the way matters proceeded.

Firstly, there was the one month's delay in publishing the results. This, in itself, placed all entrants "on edge", wondering what may have gone so drastically wrong that this prestigious event had, for the first time, begun to falter. Next came the irregular proclamation, through the media, instead of in the formal manner, as set down by the very rules of the organising committee, that all results would be announced, matched with their respective "secret" noms-de-plume and made known on the spot, at a public performance. Hence, when the name of the second placing was published in the press, the obvious inference was that the "other" contestants' entries had also been cross-referred with their noms-de-plume.

Now that I have had my chance to re-read through my script, after arriving back in Sydney, Australia, from Malta, I formally lay before, both the public as well as the responsible committee, an invitation to publish my entry for one and all to judge. The reason I have taken this stand, is not that I, in some obtuse manner, expect my entry to win "no matter what", but because the material I have submitted is of an acceptable standard and worthy of public performance. It satisfies most of the criteria, including literary, that make for a good play.

The fact that my submission was labelled a long monotonous homily, when it overtly includes "audience participation", with a theme depicting a "current world (and Malta's) political stance", and includes "experimentation", for the first time ever (to my knowledge) in "one of our local dialects", and "other features", I'm left wondering what else the judging panel and the committee can themselves come up with, that will make the grade to international expectations!

Finally, I am so confident of my entry that if the committee does not proceed to lay my submission before the public, to vindicate my claims, as well as to throw open to the interested public the current cri de coeur in Maltese playwriting, then I myself will seek to publish my own play, in the genuine hope that whatever has gone astray on this occasion, will surface and serve to truly set the stage for Maltese playwriting and Maltese language plays productions, at their truly deserved levels.